Speaker 1: Quest Love.
Speaker 2: Supreme is a production of iHeartRadio.
Speaker 3: Yeo's Up, Everybody.
Speaker 4: This is Fante Fontigelow from Team Supreme and we are
Speaker 4: back with part.
Speaker 1: Two of our conversation with Leroy Burgess. This is a
Speaker 1: guy who I wanted to.
Speaker 4: Speak with for years, longtime fan of his music and
Speaker 4: all of his work.
Speaker 3: Honestly, this was one of my favorite interviews this season.
Speaker 4: We got to talk about his catalog, his production work,
Speaker 4: his early days everything.
Speaker 5: If you haven't heard it yet.
Speaker 4: Please make sure you check out part one, where Leroyd
Speaker 4: talks about his beginnings, his group Black Ivory and Wu
Speaker 4: Tang sampling his music.
Speaker 3: Now here's part two. Enjoy.
Speaker 2: Yeah, when would you say is the moment that you
Speaker 2: graduated from just songwriting and singing to like at the
Speaker 2: helm of production where Patrick sorted taking a back seat
Speaker 2: and now this is a Leroy Burgess production.
Speaker 5: Okay, that's the easy too, That's the easy one. The
Speaker 5: transition moment, the actual transition moment when I when I
Speaker 5: transitioned from composer and musician into producer arranger. Was the
Speaker 5: Weekend album, the Freak album. I had stepped away from
Speaker 5: Black Ivy, took a hiatus from Black Ivy and participating
Speaker 5: with them. And the first person I went to was Patrick,
Speaker 5: and Patrick used to work me out of worked on
Speaker 5: the Benny King album Art Webbed album. You know, just
Speaker 5: background vocals, the keyboards or something like that, you know,
Speaker 5: stuff like that. Then he said, I got this album
Speaker 5: and Lanty's giving me a project called Free and I
Speaker 5: need two songs, right, And I had one song called
Speaker 5: Weekend and one song called Much too Much. And he said, okay,
Speaker 5: but you're gonna write all the charts you're gonna put
Speaker 5: You're gonna write well. He said, I'll do the strings,
Speaker 5: but I want you to do the horns, right. I
Speaker 5: want you to do all the since, and I want
Speaker 5: you to teach the rhythm musicians, which is something I
Speaker 5: learned from teaching my band, the band the songs, you know,
Speaker 5: the Black Ivory Band, the songs, how to play and
Speaker 5: how I wanted them arranged. So I had a bat
Speaker 5: But this was the first time I started writing charts
Speaker 5: and you know, having to do that. So that was
Speaker 5: the actual transition because when I went to the studio
Speaker 5: to do it at Bob Blank Studios, I was waiting
Speaker 5: for power. I went in there waiting for his the charts.
Speaker 5: Good luck. And he was like, no, no, no, no.
Speaker 5: You go in there with the musicians, right, show them
Speaker 5: the song, give them the parts that you want them
Speaker 5: to play. Right, you're gonna I'm gonna play acousta piano,
Speaker 5: you play electric piano, right, and this is how we're
Speaker 5: gonna do it. And he said, you're at the helm.
Speaker 5: I want this to be what you want, right, So
Speaker 5: you're gonna come up with the parts. All I'm gonna
Speaker 5: do is the strange. And I was heavy. So that
Speaker 5: was me actually stepping coursing that threshold into production and
Speaker 5: arranging and so forth. That was It was that moment.
Speaker 4: How did you learn to like read music and play?
Speaker 4: Were you just playing by ear or were you formally trained?
Speaker 1: And are these chord charts or like noted notes?
Speaker 5: Yeah, okay, to answer your question quest, they are chord charts,
Speaker 5: all right, okay? Patrick was Patrick taught me how to
Speaker 5: write the chord charts right. He would later teach me
Speaker 5: how to write the horn charts and write for strength
Speaker 5: and to do full arrangements. I started playing when I
Speaker 5: was four years old, you know, playing with the church.
Speaker 5: But I don't call it. I call that banging on
Speaker 5: the piano. I was banging, Okay. When I was very young,
Speaker 5: my moms used to get me away from my sisters,
Speaker 5: so she sent me to a babysitter that had a piano.
Speaker 5: But she taught me little things like Twinkle Twinkle Lit
Speaker 5: Star in this old man he played one right, and
Speaker 5: how to play those on the piano, and that got
Speaker 5: me interested. Fast forward to when I was eleven, I
Speaker 5: had a brilliant music teacher in the person of Herbie Jones.
Speaker 5: Herbie Jones was Duke Ellington's chief rhythm and brass arranger, Wow,
Speaker 5: and he worked on his side job was working at
Speaker 5: the Cadet Corse Central Harlem. My mother, father and sisted
Speaker 5: I joined the Cadets, so I would worry. I'd be
Speaker 5: on top of him. Oh how did you play that?
Speaker 5: And he taught me how to play chords, how to
Speaker 5: recognize notes, so forth, and so on so forth. Now
Speaker 5: combined this with what I was learning from Patrick in
Speaker 5: terms of the specifics of reading and writing and notating
Speaker 5: and so forth and so on, and I gradually learned
Speaker 5: how to do it all. But it was a gradual thing.
Speaker 5: It was an aide. I went to Julliardo, I went
Speaker 5: to right.
Speaker 4: I went before we I just wanted to go back
Speaker 4: to you and I just before we forget it. Larry Blackman,
Speaker 4: we had him on the show. He's playing drums on that.
Speaker 4: Do you remember that session?
Speaker 5: Uh? Yes, I do. He on the Don't turn Around?
Speaker 5: First of all, the only songs that we did in
Speaker 5: Philly was Don't turn Around, And I keep asking questions
Speaker 5: those two songs, which was A and B sides of
Speaker 5: our first single, right. Everything else on the Don't Turn
Speaker 5: Around album we recorded in New York at Blue Rock Studios. Right.
Speaker 5: Dy Blackman happened to live in my housing complex, Drew
Speaker 5: Hamilton Houses. I lived in building like two hundred wus
Speaker 5: on forty three. He lived down the block on the
Speaker 5: eighth Avenue building. Right, Patrick knew him. I didn't know
Speaker 5: that Patrick knew him, but Patrick knew him. Right. So,
Speaker 5: when Patrick was putting together the arrangement for you and
Speaker 5: I so forth and so on, he said, I said, well,
Speaker 5: who's gonna played the grums? And he was like, well,
Speaker 5: is guy Larry black When I'm like, oh, he's like,
Speaker 5: he said, well, he's really good at He's the perfect guy.
Speaker 5: So Larry played on You and I. He played on
Speaker 5: finding one who Loves You and he played on she
Speaker 5: said that she's leaving those three songs, got it?
Speaker 1: Thank you for that? All right?
Speaker 2: So I have a production question to ask you, like,
Speaker 2: how are you able to develop your sound? Because you know,
Speaker 2: I mean next to the Randy Moellers of the world
Speaker 2: and later the Kachiefs, like, you're doing some really revolutionary
Speaker 2: in disco and post disco music. But I would assume
Speaker 2: that you would have to have a lot of hours
Speaker 2: to figure out what the sound is and like, so,
Speaker 2: how are you able to develop your sound like that?
Speaker 5: Well? Meeting no disrespect, absolutely overthinking it a little.
Speaker 3: Bit, all right, thinking wow it what?
Speaker 1: What this always happens on the show?
Speaker 3: I'm shocked in a gas.
Speaker 5: I surrounded myself with great people, great musicians who are
Speaker 5: very simple but do a really good job. Now, in
Speaker 5: the case of Let's do It, Let's do It was
Speaker 5: composed as an afterthought for the most part. Wow, we
Speaker 5: were hired to record another song. Uh, I forget I
Speaker 5: even forgot the name of that song. It was just
Speaker 5: we were just hired as musicians, right. But Greg Carmichael,
Speaker 5: who was the producer, he had booked twelve hours. We
Speaker 5: got through the first song, you know, the song we
Speaker 5: needed that we were booked to do uh in two
Speaker 5: and two hours, two and a half hours, something like that.
Speaker 5: So he said, well, I'm not doing anything else with
Speaker 5: the time. Why don't you guys come up with something
Speaker 5: and I'll let you all recall what you want to do.
Speaker 5: So we ordered some food and while we waited for
Speaker 5: the food, I went into the instrument room and started
Speaker 5: twinking on the piano. Right, Usually it doesn't take but
Speaker 5: a minute for my brother James Callaway On to come
Speaker 5: in on bass. So came up with something just very simple.
Speaker 5: So then James came in and he played on top
Speaker 5: of me, playing that. Right. Sonny came in and he
Speaker 5: played on top of me playing that you know. So
Speaker 5: the three of us were playing and arrived at that groove.
Speaker 5: Right after that, we basically laid the whole thing down.
Speaker 5: One thing that I liked about it is because I
Speaker 5: like to come up with jazz changes for a disco song,
Speaker 5: which because they don't belong there, right. So once I
Speaker 5: had everything together, we went in, we did the rhythm,
Speaker 5: and we once we had the rhythm track all in there,
Speaker 5: then Sonny, my cousin Sonny Davenport. He started laying percussion pieces,
Speaker 5: the kunga first ball, the second a go go, the
Speaker 5: famous of go go let, tambourine, stuff like that. Right,
Speaker 5: while we called my sister with name my girl, Dorothy Terrell,
Speaker 5: and a couple of other females to come in and
Speaker 5: do the background. We wrote the words that night, right,
Speaker 5: oh wow, came up with the wrap that night. Right.
Speaker 5: So within the remaining eight hours we came we uh
Speaker 5: where we started with nothing and we ended up with
Speaker 5: let's do it.
Speaker 4: I always wanted to know how you came up with
Speaker 4: all the names for your like your aliases, like long conversion,
Speaker 4: like where'd that come from?
Speaker 5: I didn't come up with them. Oh okay. Most of
Speaker 5: the time it would be a matter of me saying, well,
Speaker 5: I don't want it to be me. I don't want
Speaker 5: it to be a Leroy record, right, this is a
Speaker 5: group effort, so forth and so on. And initially the
Speaker 5: name of the group was Caliber, which is an anagram
Speaker 5: of Leroy Burgess and James cal Away, right, okay, okay, Caliber,
Speaker 5: And that's on your leams hooked on your love records. Right,
Speaker 5: That's the only time we used that. After that, it
Speaker 5: was like as long as we retained the sound. I
Speaker 5: didn't care what name we used, right, I leave it
Speaker 5: to the record companies to come up with. Sam Records
Speaker 5: came up with Conversion. We were like, oh hey Conversion.
Speaker 5: When he when he copyrighted the name Conversion and Susol
Speaker 5: Records wanted that group. They were like, well, you can't
Speaker 5: use the name Conversion, So what would I said, I
Speaker 5: don't care.
Speaker 3: Call it whatever.
Speaker 5: They called it log right, And from there Universal Robot Band.
Speaker 3: Came out of that, Yes, yes, even man.
Speaker 5: Then from that, you know, the names just evolved from
Speaker 5: different places. I never really what was important to me
Speaker 5: was that the sound and the team was doing the
Speaker 5: same thing and arriving at the style of music that
Speaker 5: we hope would be embraced.
Speaker 3: Yeah.
Speaker 4: One of my favorite records of yours I always wanted
Speaker 4: to ask you about by Caprice. Do you remember cutting it?
Speaker 4: Like who's singing lead on that record? It sounds like
Speaker 4: a little girls that was like a kid, But but
Speaker 4: I love that song, man, It's one of my favorites
Speaker 4: in your catalog.
Speaker 5: Jackie Bradley used to play guitar for the Black Ivory
Speaker 5: Band and one of the early bands that we worked
Speaker 5: with He was part of the sols to Be as
Speaker 5: Our band. Right, fast about in the eighties. This is
Speaker 5: that's in the early seventies, right, So fast forward to
Speaker 5: the eighties and Jackie is putting together his own band, Caprice.
Speaker 5: He comes to me says, I would like for you
Speaker 5: to give us a song. If you got a song,
Speaker 5: we'd like to do a song of yours. Right. So
Speaker 5: I'm like, okay, we got a song. Me and Sonny
Speaker 5: had composed call right, And so we actually went into
Speaker 5: the process of teaching them. The singer Evette Davis was
Speaker 5: this was like her first record. So she was very Oh,
Speaker 5: she was tentative, she was.
Speaker 3: Scared, she.
Speaker 5: Was she was she she was like she didn't believe
Speaker 5: in her voice and so forth. And I was like, no, honey,
Speaker 5: you just trust me. I'll get you to Just trust
Speaker 5: me and I can get you to to I can
Speaker 5: introduce you to the singer that's within you.
Speaker 3: How old was she at this time?
Speaker 5: She was in her twenties. She was in her twenties
Speaker 5: and thirties or something like that, Okay, And so I
Speaker 5: walked her through how to sing it. Because she really
Speaker 5: has a voice that like has a quality like Denise
Speaker 5: Williams like that really lilting tiny you know, it's like
Speaker 5: you know, but at at certain points she can be
Speaker 5: very powerful, but know it's just this lilting quality. And
Speaker 5: I said, we can use that. Let's use that that quality.
Speaker 5: That's when she goes and now is the time, don't
Speaker 5: you know?
Speaker 3: Yes, sir, she was perfect for it.
Speaker 5: I made everybody get out of the studio watch and
Speaker 5: cut the leads all right. The only ones that was
Speaker 5: there with was myself and Sonny and the VET and
Speaker 5: the engineers because I didn't want her intimidated by the
Speaker 5: other band members and so forth and song. But she
Speaker 5: did an amazing job in realizing that song.
Speaker 2: Okay, so, since you just dropped your process and especially
Speaker 2: with your aliases, can I assume that the the Bumblebee
Speaker 2: Unlimited song is just the lemes on very speed?
Speaker 5: Well, it's actually not the alems Bumblebee Unlimited would usually
Speaker 5: be Patrick myself and and yeah versep just I speeded down.
Speaker 2: And wasn't that a little risky in terms of like, hey,
Speaker 2: this the song might actually get some traction on radio
Speaker 2: and whatnot, Like do we want to sing it at
Speaker 2: very speed or in our natural voices?
Speaker 1: Like, what made you want to do that?
Speaker 5: Well, Bumblebee Unlimited was Patrick's brainchild, Okay, And the whole
Speaker 5: thing is at that point, I was desperate for work
Speaker 5: because I had just left Black Abbrey, so I needed
Speaker 5: to work so bad. So whatever Patrick wanted to do,
Speaker 5: I was like, yeah, I'm fine with that. I was
Speaker 5: more worried about it being us having a problem with
Speaker 5: gross Bagdasavian productions because of Alvin and the Chipmunks and they,
Speaker 5: you know, compared it was the same process. This is
Speaker 5: exactly the same process, but Patrick's had done about it.
Speaker 5: I'll call the bumble Bee and nobody who will will
Speaker 5: be the wiser.
Speaker 2: So you really thought somebody would come at you for
Speaker 2: because Stevie Wonder did it on maybe your Baby and
Speaker 2: slot Like, I'm just realizing now that side one or fresh.
Speaker 1: That entire side one sly singing in arry speed.
Speaker 5: I did not know that.
Speaker 1: I mean, it's not.
Speaker 2: Extreme various speed where it sounds like Alvin and Chipmunks.
Speaker 2: He when they did the French version of dance to
Speaker 2: the music, he didn't call it slide in the family Stone.
Speaker 2: He called it the French Fries And they kept the
Speaker 2: same musical backdrop as danced to the music, but they
Speaker 2: sang it as Alvin and the Chipmunks and it was
Speaker 2: really Lolly Gaggan or whatever. It's like a rare B
Speaker 2: side and yeah for Europe, but I love that song.
Speaker 2: Before I get to my next question, OK, just in
Speaker 2: general with New York.
Speaker 1: And various bands around now.
Speaker 2: We mentioned you know, brother Larry Blackman before, but you know,
Speaker 2: around this time, are you at all having interactions at
Speaker 2: all with like, you know, like with Larry Muller and
Speaker 2: uh or BECAUSEI fosso came from BT Express a little later,
Speaker 2: but you know, as you guys are kind of molding
Speaker 2: and shaping really the sound of disco and more importantly
Speaker 2: the sound.
Speaker 1: Of post disco.
Speaker 5: Uh.
Speaker 2: I guess we call it bookie. I don't know if
Speaker 2: you called the bookie or not, but people have tacked
Speaker 2: it bookie. Are you having any interactions with those guys whatsoever?
Speaker 5: I met Randy at at a little gig we did
Speaker 5: at a club called APT back in the early weekends,
Speaker 5: and we're friends. The same thing with Hubett Eves the Third,
Speaker 5: and I'm friends with all of them. We have not
Speaker 5: interacted professionally to collaborate on any music, but we appreciate
Speaker 5: where each other's coming from.
Speaker 2: I mean some some credit now rogers some who do
Speaker 2: you feel is the person that really is the proprietor
Speaker 2: of Bookie like a slow down version, same disco pulse,
Speaker 2: but less less cluttered and more groove based, in other words,
Speaker 2: more for the backyard barbecue than Studio fifty four.
Speaker 5: Like well, if you ask anybody in London, they would
Speaker 5: tell you it's me.
Speaker 1: I say to you as well, straight up, I don't know.
Speaker 5: I just come from Harlem, right in Harlem, while disco
Speaker 5: is like kind of up in one twenty one twenty,
Speaker 5: you know, get the hord rate going and so forth.
Speaker 5: I'm from that chill boom chill boom boom boom boom
Speaker 5: boo boom. I'm there right in terms of I want
Speaker 5: to create and where the groove is for me, right right,
Speaker 5: So when I did songs like fat Rating, when I
Speaker 5: created let's do it and so forth, that's where we at.
Speaker 5: We swinging right there. We're not interested in boom boom
Speaker 5: boom boom boom boom. Now we we do these records
Speaker 5: for record companies who, in their brilliance, in their moments
Speaker 5: of genius, they decide, all right, let's take it and
Speaker 5: give it to somebody t sweet it up, but just
Speaker 5: go sweet. It had to go through it. But as
Speaker 5: far as boogie is just a chilled out, laid back
Speaker 5: kind of groovy joint right where you can still party
Speaker 5: hard to it without you know, having a cardiac arrest, right.
Speaker 1: Two step?
Speaker 2: So what was sweet to Me ever considered like a
Speaker 2: single from from the lock record.
Speaker 5: From the log album sweet to Me so sweet?
Speaker 2: That's like I go heavy on that song when I
Speaker 2: do my bookie sets, and I always wanted to know
Speaker 2: why wasn't that ever like given the single treatment.
Speaker 5: Well, because the hierarchy can care stand care at salso records,
Speaker 5: they decided that the only well there would be two
Speaker 5: singles there would be I Know You Will, which was
Speaker 5: the Larry Levan record You've Got That Something right, and
Speaker 5: Dancing into the Stars right. The others laid on the
Speaker 5: line sweet to Me. They never really made it into
Speaker 5: the forefront of being a single in terms of Souso's
Speaker 5: feeling or what they decided to do.
Speaker 1: So so they just felt it was filler.
Speaker 5: Yeah, they felt it with filler. But here's the big
Speaker 5: story about it. It's crazy we mentioned Universal Robot Band.
Speaker 3: Right, yes, sir, barely break it even a right.
Speaker 5: Barely breaking even is actually the seventh song from the Log.
Speaker 3: Out, Oh okay, gotcha.
Speaker 5: All right, barely breaking even. We recorded to close the
Speaker 5: Log album out all right. That's when we got all
Speaker 5: of the musicians, all of the singers who were put
Speaker 5: together the Log project. We called them all in the
Speaker 5: studio for I think it was an eighteen hour session
Speaker 5: or something like that. Right, everybody was in there. We
Speaker 5: fed everybody, made sure everybody was comfortable with plenty of
Speaker 5: stuff and smoke, and you know, we were the happy session.
Speaker 5: And I said, we're gonna do this great record where
Speaker 5: everybody's gonna sing, and it's gonna be like this giant
Speaker 5: quiet and we're all going to talk about how hard
Speaker 5: it is to keep money in our pocket. Barely breaking even. Right.
Speaker 5: What happened was our co producer, Greg Carmichael heard the
Speaker 5: record and was very please with it, right, and decided
Speaker 5: to go to South Soul to get a little extra paper,
Speaker 5: little extra paper, I want a little extra can't care?
Speaker 5: Said no? Right, so Greg said, in the middle of
Speaker 5: the night, around two thirty in the morning, Right, he
Speaker 5: went to the studio and was recording, and he told him,
Speaker 5: I want to make a safety of the master of
Speaker 5: the twenty four. I want to make it and I'll
Speaker 5: bring it right back that Later that day we went
Speaker 5: to mix the song to do a final mixture of
Speaker 5: the song to complete the album, and found it not
Speaker 5: to be there. So of course we're like, oh my god,
Speaker 5: what how did y'all let it go? All right, so
Speaker 5: we get on the phone. We can't care, So so
Speaker 5: we coming down there right now, Greg to the t
Speaker 5: blah blah blah, blah blah blah. We expected that King
Speaker 5: cared to be completely up in arms about the loss
Speaker 5: of Bailly breaking even right. That's when Ken told us
Speaker 5: about Well, Greg came and was looking for extra paper,
Speaker 5: so forth and so on. I did not want to
Speaker 5: give it to him, and that's why he, you know,
Speaker 5: com and died to take. Right. Essentially, the outrage that
Speaker 5: we expected from Ken Kidd was not to be found,
Speaker 5: all right. His basic position was, We've already got these
Speaker 5: sixth grade tunes. I don't need the extra of of
Speaker 5: you know. So that's when some months later it was
Speaker 5: released on Movelow Records as Universal Robot Band. But that
Speaker 5: Bailly Breaking Even is the seventh song from the logo.
Speaker 3: Wow, we didn't talk about mainline.
Speaker 4: That's another one of my favorite, but you tell us
Speaker 4: about recording that session.
Speaker 5: I stepped away from Black Ivory because we were being
Speaker 5: typecast into a slow jam group. All right, that's where
Speaker 5: you know, don't turn around you and I. I'll find
Speaker 5: a way all the slow jams that they loved with
Speaker 5: the falsetto, they wanted us, the audience wanted us to
Speaker 5: stay there, and thereby I would not accept us doing
Speaker 5: any fast. I could not stay in that environment because
Speaker 5: I was not growing creatively while the marketplace is going
Speaker 5: around me. So that's when I made a decision to
Speaker 5: actually step away and do a hiatus from Black Ivy.
Speaker 5: All Right, about somewhere around seventy eight seventy nine, Lenny Adams,
Speaker 5: who was still managing Black Ivory, came to me and said,
Speaker 5: I need songs for this new Buddha album, you know,
Speaker 5: or they're gonna drop us from Buddha, right And I said, well,
Speaker 5: I got three songs that I'm not doing anything with
Speaker 5: h Hustling coming Down and Maylind and I Will. You know,
Speaker 5: those songs are not as signed to anybody. Uh, And
Speaker 5: so Lenny was like, write your own ticket or whatever
Speaker 5: you want, whatever you need it to be. I want
Speaker 5: you to come back, bring the musicians in, all right.
Speaker 5: I said, well, if I'm gonna do it, we have
Speaker 5: to do it with Patrick Adams. We need Patrick Adams
Speaker 5: on it, we need James Callaway, you know. And and
Speaker 5: we just locked it up, lined it up. I gave
Speaker 5: them a demo so Russell could learn to sing the
Speaker 5: league right, and uh, you know, the backgrounds, we just
Speaker 5: sang as we normally would do. But I like it right.
Speaker 5: And Patrick came in did the strings and horns. The
Speaker 5: drums weren't right. Initially we used Leroy Mike Connor on
Speaker 5: the drums, but they were not falling right. So we
Speaker 5: had Earl Young come in and overdub his.
Speaker 2: Young hypothetically speaking, so say, if I'm like one of
Speaker 2: your peers of your contemporaries in nineteen seventy nine, and I'm.
Speaker 1: Producing the same music that.
Speaker 2: You're producing, Okay, what would what is a producer's rate
Speaker 2: in in seventy eight seventy nine eighty like in the
Speaker 2: in the era of twelve inch discos for the sassoles
Speaker 2: of the world, these small labels of the world, like
Speaker 2: what would my living be per per side like is
Speaker 2: it whatever you can.
Speaker 1: Work with or is it a contracted thing? Like how
Speaker 1: does one make a living?
Speaker 5: Barely? Basically, back in that period, you do good. If
Speaker 5: you could get a budget that was anywhere between say
Speaker 5: about thirty five hundred to about five thousand, the high
Speaker 5: end of that would be ten thousand. Right, we'll give
Speaker 5: you that, right and say, bring me my record, bring
Speaker 5: me a great record, bring me something that's gonna kill
Speaker 5: so forth and so on. And it was your job
Speaker 5: to take the amount that you were given and create
Speaker 5: that record, right, and whatever was left over, Yeah, you
Speaker 5: could walk home with. You know. So if you were
Speaker 5: given ten thousand dollars, then it only costs you six
Speaker 5: to do right, you know, the final record, then you're
Speaker 5: walking home with four. Right. So budgets around that time
Speaker 5: were about, you know, if they were reasonable, they were
Speaker 5: ten thousand and upper song, right, and that would give
Speaker 5: you a decent amount of room. And how you lived
Speaker 5: and how you lived off of it is how you
Speaker 5: could make that budget work with under ten thousand dollars,
Speaker 5: so that you had to.
Speaker 1: You weren't all and out of control. Okay, So did
Speaker 1: you have.
Speaker 2: Great relationships with Larry Levan or even Frankie Crocker at
Speaker 2: that like a being a song or like bringing them
Speaker 2: a test pressing and see if it works it doesn't work,
Speaker 2: are you able to go back and readjust if it
Speaker 2: does not work.
Speaker 5: I'm gonna take one person at a time. Larry Levan
Speaker 5: a R. I did not know who he was, and
Speaker 5: I did not know who what the Paradise Garage was.
Speaker 5: I thought it was a gage.
Speaker 1: Wait, what how did you create a soundtrack for Generation?
Speaker 5: It?
Speaker 1: Did not know what the Paradise Garage was?
Speaker 5: I did. I'm just being honest.
Speaker 2: So what was the epicenter of a place where you
Speaker 2: wanted to see how your music worked?
Speaker 1: Oh? He just went straight to them.
Speaker 5: Yeah, and that's where That's where my first gig at
Speaker 5: any of those clubs down there, long before I learned
Speaker 5: about Paradise Google. My first gig was at Studio fifty four, uh,
Speaker 5: performing Let's do it. As far as Lady Levan goes.
Speaker 5: I got to appreciate his art after I Know you
Speaker 5: Will was given to him to mix, right, and I
Speaker 5: was like, now you know we're from uptown, We're from Harlem,
Speaker 5: and we're like, we're belligerent about everything. So so we're like,
Speaker 5: ladle Van's mixing it? Who? We never heard of him.
Speaker 5: I don't know if I wanted him to have myself.
Speaker 5: Who is that? All right? So we stormed right track
Speaker 5: Studios on forty eighth Street where he's doing the final mix.
Speaker 5: Right And when I say we stormed, we jump in
Speaker 5: the cab, met James and Sunny.
Speaker 1: We are from Harlem.
Speaker 5: Yeah, yeah, we jump in the cab. We rolled all
Speaker 5: the way down there and we were like, oh, no,
Speaker 5: you're letting us in this session? This out on all right?
Speaker 5: Blah blah blah. So we basically boguarded our way up
Speaker 5: to the studio where it was working, and you know,
Speaker 5: they wouldn't let us in. They wouldn't let us in.
Speaker 5: Finally Labby came out and with gracious and said, oh,
Speaker 5: these are the producers, these are the songwriters. Let them
Speaker 5: end so far up the song and then he appaused
Speaker 5: us of what he had in mind and how he
Speaker 5: was working it, and it sounded so great, right. We
Speaker 5: was like, oh, I don't mean to go right ahead.
Speaker 2: So remixing was just a foreign idea, like letting someone
Speaker 2: borrow your stem.
Speaker 1: Your your your your mate, your your lifeline.
Speaker 5: Here's the thing. When you were budgeted by a record company, right,
Speaker 5: it was there. It was their property, period. Right. It
Speaker 5: was there, so you could do whatever mix you wanted
Speaker 5: to do and say this is the mix I want
Speaker 5: to come out, and they'll be like, okay, yeah, let's
Speaker 5: leave it ahead. And then they would call chef Patty Ba,
Speaker 5: John Wallace Man, they call whoever their guy, right, jelly Bean, Benitas,
Speaker 5: They say, hey, take this multi track and give me
Speaker 5: a great record, right, And then it would not be
Speaker 5: what the producer's vision was. It would be this other
Speaker 5: vision that was in the mind of the remixer, however
Speaker 5: that mind might be on that given day. All right,
Speaker 5: but that was the job. I mean you you wasn't
Speaker 5: if you didn't own that master, So you couldn't say,
Speaker 5: I'm going to make sure it's supposed to mix it.
Speaker 5: They owned the master so they could say and so
Speaker 5: after a minute, you have to say, you have to
Speaker 5: resign yourself to that dynamic, all right. One of the
Speaker 5: is that it's really definitive. Let's do it. Let's do it.
Speaker 5: Was an eleven minute song, right that had two bridges right, wow,
Speaker 5: and the vamp chorus. I was going nuts on as
Speaker 5: a lead vocalist, right. All of that ended up on
Speaker 5: the cutting wom floor at SAM Record. They was like, no,
Speaker 5: contain the record to this five minute thing, and this
Speaker 5: is what it's going to be. We heard it, we
Speaker 5: were discussed, we were like, oh my god, where's the
Speaker 5: rest of the record. Right, let's do it? Came out amazing,
Speaker 5: hit you just hit right. So in twenty sixteen, I
Speaker 5: had a copy of the eleven minute version right right
Speaker 5: right with the vocals and so forth and song, and
Speaker 5: Franky Knuckles played it at Studio fifty four right and
Speaker 5: I forgot to get the tape back from him, so
Speaker 5: he took it back to Cargo with him. Right Frankie
Speaker 5: passed away. He gave it to another DJ, DJ a
Speaker 5: manual something right, and he gets in touch with me
Speaker 5: twenty fifteen, says I have the eleven minute version of
Speaker 5: Let's do it.
Speaker 3: I'm like what?
Speaker 5: So he sent it to me. I sent it to
Speaker 5: my partner PR to master it right and then to
Speaker 5: initiate the startup or just entertainment. I said, let's just
Speaker 5: put it out for free. Let's give it to everybody.
Speaker 5: For free right, and we introduced everybody to what the
Speaker 5: full version of Let's do It is right, and they
Speaker 5: got the second bridge, they got to hear the second chord,
Speaker 5: they got to hear the vamp out or all of
Speaker 5: the things that were removed from it. They got to
Speaker 5: hear it, and they was like, oh my god, this
Speaker 5: is incredible. Why everybody started asking the questions that we
Speaker 5: were asked, you know, why did y'all chop it up
Speaker 5: like that? I put it all down to how music
Speaker 5: evolves and the business that uh that pertains to it right,
Speaker 5: you know, and and just not to let anything drive
Speaker 5: you so crazy that you doing crazy stuff.
Speaker 4: I wanted to ask you about Fonder Ray. She was
Speaker 4: like one of my favorite singers of that time. She said,
Speaker 4: over it like a fat rat.
Speaker 3: What was she like in the studio?
Speaker 5: She was pleasant, she was she was professional.
Speaker 1: And where did she come from?
Speaker 5: I don't know a book.
Speaker 1: So she was just brought to you as a client.
Speaker 5: She came from either it's the other Mount Vernon or
Speaker 5: Newer Shell or somewhere Yonkers or something like that. I
Speaker 5: think that's where she lives. Uh. When we did over
Speaker 5: Like a Fat that we recorded it as a demo
Speaker 5: with Bob Blank. Bob gave us some free studio time
Speaker 5: and Uh, we met James and Sonny. We went in
Speaker 5: and we just did our things, creating songs and so
Speaker 5: for up the songs. So over like Batlright was one
Speaker 5: of the songs. And we left the tape for Bob,
Speaker 5: and then Bob went to Vanguard and Vanguard had signed Fonder,
Speaker 5: and Bob called us up and said, we mind if
Speaker 5: he tried fond of Ray And I'm like, fond of
Speaker 5: who and He's like Fonda Ray and I'm like, uh, okay,
Speaker 5: Well we'll allow it if you let us be at
Speaker 5: the session, meaning myself and my cousin Sonny Davenport.
Speaker 3: Uh.
Speaker 5: We went to the session. She she learned the song
Speaker 5: and sang it very competently, giving us the performance that
Speaker 5: y'all are familiar with.
Speaker 4: Was that her first session, No she had she's also
Speaker 4: on she worked with August Darnell.
Speaker 3: Uh.
Speaker 4: During the she did she did Deputy Love It was
Speaker 4: it wasn't Doctor Buzzers.
Speaker 3: It was with Don Armando's second rumba band or something.
Speaker 1: Wow.
Speaker 3: He always had that crazy like alias and stuff.
Speaker 4: But definitely Love is a record though that's a jam
Speaker 4: did not know that she.
Speaker 5: Also had worked with Patrick Adams with a version of
Speaker 5: touch Me All Night Long.
Speaker 1: Yes, that's different than the one that we know, or.
Speaker 5: Different the version with spelled t u c h oh
Speaker 5: like it spelled t u c h me And she
Speaker 5: did that, uh before it got to the Sandy post
Speaker 5: that did it?
Speaker 2: Okay, Wow, all right, here's here's the question I always
Speaker 2: wanted to know.
Speaker 1: I'm getting right to Rick James right now.
Speaker 3: I knew it.
Speaker 1: So I have one question to ask you.
Speaker 2: All right, the way that you're holding your head right now,
Speaker 2: I already know what the answer is. But can I
Speaker 2: can I just take a wild guess that your involvement
Speaker 2: with Big Time is just that intro? No, oh, so
Speaker 2: you did the entire because the thing is is that
Speaker 2: the kick drum piano intro is such a Leroy Burgess sound.
Speaker 2: And then right when the song kicks in, I felt like, wow, okay,
Speaker 2: now it sounds like Rick James, how did that come?
Speaker 1: How did that come together?
Speaker 5: Okay? At the session I was telling you about where
Speaker 5: we recorded over like a fat rat for a Fonda
Speaker 5: or we for that one of the another one of
Speaker 5: the songs that we'd done was a song called Baytime
Speaker 5: right now, you know, I did the demo with the
Speaker 5: piano and James on Bassis, Sonday on drums and I
Speaker 5: sang in the you know, I did a demo of
Speaker 5: the of the vocals and shit right and on our
Speaker 5: way uptown to Bob Blank Studio was on twentieth and
Speaker 5: sixth Avenue right, and on our way back uptown, we
Speaker 5: just decided to stop at fifty seventh Street between eighth
Speaker 5: and ninth Avenue to stop at Kenny Morris's house. Kenny
Speaker 5: Morris was Patrick's partner, right to stop there to get
Speaker 5: a little package for us to feel good with. When
Speaker 5: we got uptown, we absolutely so, you know, and Kenny
Speaker 5: was holding so we went there all right. When we
Speaker 5: got there, Kenny's friend, Rick James was in attendance. He
Speaker 5: was he was visiting Kenny and oh, so, you know,
Speaker 5: we really want to do our business and get on.
Speaker 5: But then you know, Kenny was like, come on inside,
Speaker 5: and Patrick was right there, and uh so we did
Speaker 5: our little wine and dine thing. I mean, we'll not
Speaker 5: know Dona's wine. We already know, and Rig James was like,
Speaker 5: tell old Patrick, I'm getting ready to do my new album.
Speaker 3: I don't want more.
Speaker 5: Down to and so forth. I just need to be
Speaker 5: a good one and so forth. And I mentioned that
Speaker 5: we just came out of the studio doing a little
Speaker 5: demo and so for oh let me hear no, no,
Speaker 5: let me hear it, I'm looking for songs, right, and
Speaker 5: so big Time was the first song on the cassette
Speaker 5: and we only made it halfway through. Oh my god,
Speaker 5: that's my song. That's my song. I got to have
Speaker 5: it because big Time is the persona of big Time
Speaker 5: is Big James persona. It's all about a guy who
Speaker 5: arrived at the big Time.
Speaker 1: Life of fortune and fame and stuff.
Speaker 5: Yes, yeah, glamor and fame and all of that. So
Speaker 5: it was Paul, that's my song. I needed to Patrick
Speaker 5: be working out and so forth and so on. So
Speaker 5: Patrick worked it up. This is nineteen seventy nine. By
Speaker 5: nineteen eighty it was released as we made a deal
Speaker 5: for it to be the first single from the Garden
Speaker 5: of Love album, right, and we arranged for Rig James
Speaker 5: and Patrick too, for Patrick to co produce it with
Speaker 5: rig James and take it out. They took the multi
Speaker 5: track out to California, where Rig James added his flavor
Speaker 5: to it. The entire song, the change and everything like
Speaker 5: that that was written composed by me and Vig. James
Speaker 5: added his elements to it, but essentially, Uh he replayed
Speaker 5: the bass, took James callaway off and replayed the bass.
Speaker 5: Uh replayed some of the piano parts, put his horns
Speaker 5: on it, and so forth, and then added don't don't right,
Speaker 5: And I'd like to think, I don't want to be presumptuous,
Speaker 5: but this is before super Freaking all of that, and
Speaker 5: I'd like to think that Big Time was central in
Speaker 5: reviving Rick's career to such a degree that he was
Speaker 5: able to then take that model and create new songs
Speaker 5: from it, right, and that gave you the super Freak And.
Speaker 1: That's exactly what it did.
Speaker 2: But that piano intro, Yeah, it's such an Unricked James
Speaker 2: sounding thing that I was like, in my mind, I
Speaker 2: felt like, at the last minute, let's add that piano
Speaker 2: interro at the top, and then.
Speaker 5: No, but that was the whole record when we did
Speaker 5: it was that, you know, that was the whole demo.
Speaker 1: So I guess I really became familiar with you.
Speaker 2: Kind of the summer eighty four when like B Boy
Speaker 2: cultures starting to set off and via lemes release yourself.
Speaker 2: What was your thoughts on the Marley mar remix of
Speaker 2: that song.
Speaker 5: I didn't know who Marlly was before that, but I
Speaker 5: certainly got to know who he was since he did it. Okay,
Speaker 5: because to see for me, it became a practical situation. Uh,
Speaker 5: that part be goes release your sound, we right an
Speaker 5: octave from where I'm singing it now right right form
Speaker 5: that of right you might be able to do that
Speaker 5: once or twice right before your whole voice would break
Speaker 5: in half, give out right, just breaking half. So I
Speaker 5: always was like, while I understand the virtue of it
Speaker 5: being sampled, a lot of people expected it to be sunk.
Speaker 2: That was my second question. How much of a nightmare
Speaker 2: was it for them? Because that's the only version we played.
Speaker 2: We know there's other versions of the song, but we
Speaker 2: will always go to the B side and play the
Speaker 2: Marley mal version right right right, And it was inescapable
Speaker 2: in the summer of nineteen eighty four.
Speaker 5: Right. So I arrived at a balance between when I'm
Speaker 5: doing my live I let one of the girls or
Speaker 5: something like that do those parts right, and then I
Speaker 5: stick to you. Got to you know you need to
Speaker 5: stick to that, right. It makes it easy because, believe me,
Speaker 5: if I just did one full chorus of that, that's
Speaker 5: the end of the show. And thank you very much,
Speaker 5: good night, And I hope you enjoyed that. That that
Speaker 5: chorus that I didn't.
Speaker 4: I want to ask you, Lee Roy, there's a record
Speaker 4: you did a couple of years back with Glenn underground.
Speaker 3: Let me know you're feeling me record?
Speaker 5: Yes, myself and Glenn.
Speaker 3: Oh oh, Patrick working on that as well.
Speaker 5: Yes, Yes, the song was composed by Patrick, Glenn and myself. Uh.
Speaker 5: That was when a guy named Raddick who runs dust
Speaker 5: Tracks Records out of Chicago. Uh, he had a hook
Speaker 5: up with Glenn and Glenn had asked for myself and
Speaker 5: Patrick Rady Can convinced us to take a plane to
Speaker 5: fly out there for a couple of days and work
Speaker 5: with Glenn. And again that song was started from scratch.
Speaker 5: We had nothing, no no beating nor anything. And Patrick
Speaker 5: came up with with with the baseline that kind of
Speaker 5: took us somewhere and then I said, I added some
Speaker 5: cords to it, and then we had Glenn come in
Speaker 5: put the drums against it, and so forth and so
Speaker 5: on and we began to build a record up from there,
Speaker 5: and within two days we had that that song.
Speaker 3: I love that song, man, I just I was. I
Speaker 3: was so happy.
Speaker 4: A good buddy of mine, Escort out of out of Chicago,
Speaker 4: he sent me that when it came out, and I
Speaker 4: was just so happy to hear you like singing again
Speaker 4: and like, I just really love that record.
Speaker 5: Man.
Speaker 1: I have one inter life question.
Speaker 2: Yes, well, actually, okay, this is something you've really got
Speaker 2: to settle for me, because it's killing me. Did you
Speaker 2: ever work with Alan George or Fred McFarlane, Because even
Speaker 2: if your name is not on the credits, I still
Speaker 2: insist that you had something to do with somebody else's guy,
Speaker 2: even though you know your only connection to it is
Speaker 2: working with Jocelyn Brown and in her life.
Speaker 1: But and I'm not want to be starting something, but
Speaker 1: I can't be the only human being that thought that
Speaker 1: you produced.
Speaker 5: That well Alan George and Fred McFarlane. First of all,
Speaker 5: Fred McFarlane was a member of Conversion and Law like okay,
Speaker 5: keyboard player for my grouping one of the high keyboard
Speaker 5: players for the group. So we knew Fred, and we've
Speaker 5: known Alan because Alan had been close friends with our
Speaker 5: second the second Black Ivory band Stone Love, so we
Speaker 5: knew Allen through that. The reason why you hear a
Speaker 5: connection between somebody else's guy and music that you associate
Speaker 5: with me is two reasons. One is James Callaway, he's
Speaker 5: the bass player on that record right right, and and
Speaker 5: of course Fred McFarland. And the second element is George
Speaker 5: Ellington and Vincent Henry on brass because George and Vincent.
Speaker 5: George was a horn player for my band, Vincent was
Speaker 5: a man and and the two of them gave you
Speaker 5: that that kind of sound, right, So between James, Fred
Speaker 5: and Vincent and George, that's where you get that that
Speaker 5: layer of sounded compared to what we do.
Speaker 3: Yeah, you get throw. He probably throw what's seventh Heaven
Speaker 3: on that too, that GWNG Guthrie. It kind of all those.
Speaker 1: Really believe it or not, That's the first place I
Speaker 1: looked to me.
Speaker 2: It's your sound, I guess in general, and in wrapping
Speaker 2: this up unless you have another one, Yeah, I just wanted.
Speaker 3: To talk to him about his his noise record. Yeah,
Speaker 3: you work with a lot of my heroes on this one.
Speaker 3: With the remixes.
Speaker 4: Big ups to Josh Milan and Mark Matt from for
Speaker 4: a Hero, what's your connection with with those guys?
Speaker 3: And UH talk about your your work.
Speaker 5: With them everybody on that I'm blessed to have UH
Speaker 5: share their brilliance on these days. The Remixes have been
Speaker 5: friends for a little while now. A Stacy kid I
Speaker 5: met a few years ago when I invited him to
Speaker 5: Pais to come see my myself in my live. I've
Speaker 5: known Louis Vega ever take us all the way back
Speaker 5: to the conversion we make in twenty sixteen. Kenny Carpenter,
Speaker 5: good friend of mine that I worked with a song
Speaker 5: on him called more Love, and he came back and
Speaker 5: did some of the early mixes on remake that I
Speaker 5: did of Jesus Children of America about Stevie. Mark Mack
Speaker 5: is a friend, very long time friend. I've known him
Speaker 5: for about a good twenty twenty five years. It was
Speaker 5: DEAs Parks.
Speaker 3: I was about to say, Dans Parks man, Oh my God,
Speaker 3: rest in peace.
Speaker 5: Bear departed and ascended angel Death Parks who insisted on
Speaker 5: me meeting Mark right and said, Marc is the guy Mark,
Speaker 5: and Mark has since I've met him and since I've
Speaker 5: worked with him, everything that Mark has done has been
Speaker 5: just the absolute truth, just so pure. So to wrap
Speaker 5: up the whole album and reflect Nicholas is. He was
Speaker 5: the surprise because he heard These Days the album, the
Speaker 5: initial album from which the remix album is inspired, and
Speaker 5: heard the song all together, and he was just really
Speaker 5: taken with that, and I was taken with all of
Speaker 5: the reflex remixes. He's the one who does the best
Speaker 5: remixing that I've heard. When I heard him do Rock
Speaker 5: with You by Michael Jackson and All Night Long by
Speaker 5: Lino Richie. He does his thing in the Stone with
Speaker 5: earth Wind and Fire. He's really a brilliant Nicholas is
Speaker 5: really a brilliant remixer. So I was blessed that all
Speaker 5: of them, when they heard These Days the initial album
Speaker 5: come out, they called me up and they said, hey,
Speaker 5: I want to remix this, and I want to remix that,
Speaker 5: and I want to do this, and I want to
Speaker 5: do that. And I spoke with my partner, pl Sweets,
Speaker 5: and he said, well, let's do a remix album. You
Speaker 5: know that just features remixes, right, And that's where this
Speaker 5: latest project came. These Days initial album was released back
Speaker 5: in September twenty twenty two, and the remix album Just
Speaker 5: It was initially released in March twenty third, twenty twenty three,
Speaker 5: and then as of last Thursday it hit track Sauce
Speaker 5: so and now people are starting to really get into it.
Speaker 5: But those guys blessed me with their talent and with
Speaker 5: their insight and with their genius, and they made it
Speaker 5: into a project that I can really really be proud of.
Speaker 3: Yeah. Now we're all disciples, man, We're all disciples.
Speaker 2: So I got one more record to ask before we rap,
Speaker 2: because not many people talk enough about Eddie Kendricks's is
Speaker 2: aristera period? And you worked on the Something More record?
Speaker 2: I never used to dance. Can you talk about what
Speaker 2: like working with Eddie Kendricks.
Speaker 5: Like what it was like? It was a lot of
Speaker 5: fun because Eddie is a cannabis indulgence as I am.
Speaker 3: And hey, no the club amen.
Speaker 5: So Patrick got the deal when Eddie when he was
Speaker 5: working with Arista, and he said, I got to Eddie
Speaker 5: Kendrick deal. I said, oh, great, that's cool. Do you
Speaker 5: have anything for him? Not really, we don't have nothing,
Speaker 5: but I'd like to meet him. So Patrick said, oh,
Speaker 5: come on down, I have a meet him with him.
Speaker 5: So forth and so on. So I bought my team
Speaker 5: meet James and Sunny. We went down there, we met,
Speaker 5: you know, chopped it up, had a few drinks and
Speaker 5: so forth and so on, and I was like, well, Eddie,
Speaker 5: what do you want to sing about? Right? And he said,
Speaker 5: I don't really know, I don't really care. Just write
Speaker 5: me a great song. For whatever reason, we started talking
Speaker 5: about the Temptations moves and the choreography and so forth.
Speaker 5: And now I think I started talking about how Black
Speaker 5: Eyes was biting his choreography, you know. So I started
Speaker 5: talking about that and he said, well, I never liked
Speaker 5: the dancing. I'm not a dancer. I'm a singer.
Speaker 2: Uh.
Speaker 5: And so although I had to do it because it
Speaker 5: was part of my my duties as a Temptation, you know,
Speaker 5: to do the choreography and all of that, but I
Speaker 5: never really liked it. And I was like, wow, there's
Speaker 5: our song story. So myself and my cousin Sonny and
Speaker 5: my brother James, we created a song called I Never
Speaker 5: Used to Dance. It's about which is about a dude
Speaker 5: who doesn't really like dancing. You know, how many you
Speaker 5: go to a party and you see the dudes standing
Speaker 5: up against the wall while the chick get out, you know,
Speaker 5: they out there doing anything and the dudes is just
Speaker 5: like standing there looking at it. Yeah, how about that?
Speaker 5: How about the Mets?
Speaker 1: You know the Wallflower song?
Speaker 5: Yeah, so they're doing that. But never used to dances
Speaker 5: about that one chick that you see it hit the
Speaker 5: floor and oh my god, I just got to dance
Speaker 5: with it. And all of a sudden, you're not dancing behind,
Speaker 5: you're not dancing the ass find yourself out on the floor,
Speaker 5: which is he's the one that gets you to do it.
Speaker 5: So that's what never used to dance is all about. Wow.
Speaker 5: And he heard it. When he heard it, it was like, oh,
Speaker 5: that's perfect, that's me all that's me, that's it so
Speaker 5: so uh And for me, listen, when I was thirteen fourteen,
Speaker 5: I was singing just my imagination and the way you do,
Speaker 5: the things you do, those songs were just ingrained in me.
Speaker 5: To be working with an icon like him, right, oh,
Speaker 5: and for him to be doing one of my compositions,
Speaker 5: one of my co productions, was just a dream come true,
Speaker 5: many many dreams that have come true in my time
Speaker 5: in this industry.
Speaker 2: Yo, man, this is some of the best two hours
Speaker 2: ever been waiting on this, man, it's nerding out. Thank you, man,
Speaker 2: I can't even thank you enough for this, Like you
Speaker 2: know you've changed culture and you know you can't there
Speaker 2: there aren't enough flowers in the world to give you,
Speaker 2: man like like what you've done for dance culture, man
Speaker 2: is like real heads no, and we just thank you
Speaker 2: for doing our show with us.
Speaker 4: Thank you for the music, man, Just your music is
Speaker 4: so much joy to like to my life, you know
Speaker 4: what I mean, and uh, always a good time.
Speaker 3: So just just thank you for all your contributions. Man,
Speaker 3: straight up.
Speaker 5: Blood Shulan, thank you all for having me. I'm very
Speaker 5: aware of how successful your work is. Question this team is.
Speaker 5: I'm just happy to be a part of it, ah
Speaker 5: and happy to participate in this. Uh. You guys have
Speaker 5: some really great questions. Man.
Speaker 1: You know we're fans. We are fans.
Speaker 2: You know I'm a DJ, so I'm only as good
Speaker 2: as the knowledge I have of you know the records
Speaker 2: I gravitate towards. And you know your your records have
Speaker 2: saved many many a party of mind. So thank you
Speaker 2: very much for that.
Speaker 5: That's what's up. That's what's up. Thank you, yo.
Speaker 2: When be having super Steve and Unpaid Bill and Fantigolo
Speaker 2: and like I if this is another another classic, much
Speaker 2: loving extravag handle, love it energy.
Speaker 1: We will see all next time, all right, Thank you.
Speaker 5: Much.
Speaker 1: Love Supreme is a production of iHeart Radio.
Speaker 2: For more podcasts from iHeart Radio, visit the iHeart Radio app,
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.